The scratch and pop of the needle hitting the record on an old turntable
accompanies the introduction to “Old Hammer.” This track is an easygoing
groove conjures the image of a country spread, where a working man isn’t
laboring so much as he’s taking in the scenery around him while doing a
little bit of work. He and his colleagues might break out into song to
pass the time. Ballantine runs through his middle solo, mixing single
notes with chords, throwing in some twang in key moments. His bandmates
crank up the heat underneath. Then, just when you think the sound will
draw the attention of the foreman, Espinoza hushes them. Relaxed, they
continue to groove at will. But even the organist can’t contain himself.
Before long, he’s just as intense as the guitarist before him. But when
the boss looks over, they revert to what they were doing, working
steadily while continuing to enjoy their song.

“Eyes Closed” has a brooding, bluesy vibe. It’s a cinematic love scene
for the ears. Gardier’s soprano sax leads the melody, with each bar
punctuated by a rim shot. The guitar acts as a backing vocalist during
this stage of the song. Ballantine’s solo begins softly, but slowly
builds with emotion and power until he hands off to Gardier. Roberts’
tom rolls aid the transition. The soprano also begins modestly, but the
phrasing becomes more intense, more passionate as the climax builds.

Ballantine, 26, turned toward guitar at age 15. Inspired by his father’s
finger picking, Ballantine adopted a Merle Travis-Chet Atkins approach.
Drawn by the music of Indianapolis native Wes Montgomery, Ballantine
became hooked on jazz. He played solo gigs at country club events around
North Webster, and at weddings and other affairs.